So this sounds like you're not shooting in rec 709. And while I am not 100% sure because I don't have anything Apple because of this kind of thing, I don't think Apple shoots natively rec 709. I think they shoot HLG. So here's my suggestion and let me know if it works. Import your video like normal, right click on the file in the project window, create new sequence from clip, that should set up a sequence with the clips settings. While you're at it, going to your phone and see what your video settings and your color space is. This 100% sounds like a color space issue

@@NightOwlsMedia it looks like you’re right that apple is HDR, I’m not sure why so many videos out there say for iPhone users to turn on rec 709 in adobe, but that def does not work for me. I just tried what u said. I opened a new sequence as normal, then I right clicked on the project and hit “new sequence from clip.” I now just have a duplicate video in here, but look exactly the same color-wise. Super overexposed. I’m able to alter the lumetri colors and get it looking good, but usually when I export all the colors get messed up. However, this time they did not! Maybe it’s bc I did what u said? Could also be because it was only an 8 second clip. I’m going to try this again with a full 15 min clip and lyk the results. Thank you!

I am always up to the date. I keep the software up to date on release days as to not confuse myself ever. When it rolls over to a new version like v23 or v24, I keep the previous version program until all my client projects are complete from the previous version. But I always try to keep it updated daily.

Wow. I am really glad it worked well! Thank you!

Thank you for the kind words. I typically like to talk a lot, but I make videos like these for my students in my editing class. I'm really happy other people are getting something out of it.

Thank YOU for the watch and the comment. I hope it helped!

Hahahah. That's too small of a world!!! Hi Sara!!!!

I'm going to ask a couple questions, please don't take offense to anything, I'm just trying to figure out what might be the issue. 1. Did you record and edit in the same color space? Rec709? HLG? Etc. For example, if you filmed on an iPhone and edited in rec 709 that would be an issue as I think iPhones are standard different color space. 2. Is your screen calibrated with a color calibrator? I use a Spyder calibrator once a month, and every month it ends up tweaking it just a little bit. Meaning, it goes out of color calibration in a month. I'm not saying that's normal, but for the monitors I use, that's the case. 3. When your exporting, are you exporting to high quality? Make sure your exporting in the same color space, hi bitrate, Max depth, Max render. As well as a file format and codec that is appropriate I haven't made a video yet about exporting settings and why they matter, but maybe I should

@@NightOwlsMedia no problem, i've write trying to work around the problem... i've all the color space set up on Rec709, Sequence on Rec709, all the high quality option check boxed, filmed on Sony FX30, editing on a Eizo Monitor

@@claudioCarraro ​super jealous of the Eizo, that's really nice! How do you like it? I've been eye balling them for a while. As for exporting with incorrect colors - this is tricky. I wish I had a 100% answer for this. Have you tried exporting an un-graded ProRes 4444 into DaVinci Resolve? Try adjusting the colors in Resolve and export out a test. See if that works, just as a test of a couple shots. I know Resolve is a different beast, and one I'm not qualified to teach on, but whenever I need something higher end, I use it (very slowly) for grading. I know this isn't the best answer - we're all trying to figure this out and Adobe is not being very helpful with it.

Very happy to hear it worked for you! That rec709... Even though it's basically industry standard..... Thank you for the comment in the watch, man!

You're fabulous!

Very happy that it helped!

Thank you for the comment and the watch - be sure to watch the newest video on this to ensure your settings are correct as well so you are actually seeing what color you are producing in the editor.

I hope it helped! Thank you for the kindness!

Wow!!!! That's a damn fine way to open my email! Haha. Thank you for the incredibly kind words and all the love (and from Fiji!!!!! That's insane to a Chicago kid)!! But more than that, im really happy to know that it helped you out with your editing / videos. Hope the editing goes smoothly brother!

@@NightOwlsMedia Brother, you just Cured my stress.!! no joke!. Stay safe brother. And thank you once again. Keep doing your amazing work! cheers

It's the Smoke B, and can not love it enough. Granted we've only played with it for.one shoot and this messing around portion. Lol but it's so much fun

@@NightOwlsMedia honestly i was looking at this on amazon when it was on deal and thought ooooooo that looks good

Dude, thank you so much! That made my day!!

So happy to hear that it worked for you!! Thank you!

Wow, what a nice comment! Thank you so much! That means a great deal!

Very happy that it worked well for you! Thank you for the kind comment!

I'm really happy that it helped - thank you for the love Stick man!

Happy that it helped! Thank you for the comment. I do not use any additonal lut to alter the color / toning anymore. I've been exporting with my normal settings and it's coming out fine

Thank you so much for the kind comment. That was very nice of you. As for the mouse cursor... I have not heard of that but it sounds like you might be having a driver / firmware issue or conflict. Try updating your drivers and any firmware for mouse or peripherals.

Either way, let me know if you get it resolved. You could help someone else who might have this issue in the future.

You are most welcome. Thank you for the watch and comment!

That is awesome to hear! Thank you so much for the watch in the comment, and for letting me know that it worked well. It means a lot!

That's awesome! Thank you so much for the comment! I hope this helps in the editing!~!

Outstanding points! This was well thought out and argued. Thank you so much for adding to the conversation with your thoughts and ideas. This was really great to read through!!!

Thank you for the comment, be sure to watch the new video that I linked to in the description as this video is a little older and out of date

I'm so happy that it worked with you! Thank you for letting me know, and thank you for the watch and comment!

That's awesome! I'm really happy it got to work for you! Thank you for the comment!

Thank you!

I use a Deity S-Mic 2 boom + Mix Pre 3 audio recorder for almost all of my shoots. I use Lav mics for shoots I can't have total control over the audio, run and gun shoots, and 90% as back up to the Deity S-Mic 2. However, something to point out - just because I use them as back up, doesn't mean they never get used for the final edit. Perfect example - just shot commercial where maybe 50% of the audio had to come from the lav mic instead of the boom due to background sound. In general - the lav mics, in my opinion, don't sound as warm or professional in most cases as the boom (when you have control), but as long as you record clean and can mix in post, cleaning up the sound levels, it will be mostly unnoticeable by your audience.

If you're running the power from the connection to the camera, then you need to make sure every connection is acting both as a data + power passthrough - If I use the receiver or transmitter for a very long time, I don't use the USB port for anything but power - zero data transfer.

@@NightOwlsMedia thanks for the response. Can you break that down into more simple terms for this noob. So are you saying don’t connect the mic to the camera? I need external power for both. I’m also using the GoPro Mike adapter in this set up

@@TiggsTailsFishingToo Hey! No worries! We all started somewhere - So in general, I almost never connect the receiver to the camera. 1) you can't get 32bit float from the receiver to a camera source, so really the audio feed to the camera is just a scratch track / temp track (this is the audio you typically delete in editing but just use it as a guide when syncing or listening for cues), and 2) these only have one usb-C port making them really only usable for power when shooting long shoots (like I am assuming you might be for fishing trips, etc). For example, I took these on a trip with me when I went to Austria and hiked up a mountain interviewing someone about their life. On her i had two recorders: the Rode WG2 (in this video) and a back up DR10L w/ lav mic. On the camera, I used a shotgun mic (Deity) to record the wild sound (wild sound is basically like it sounds, you get what you get, if someone is close enough to the mic, it will sound OK, but more than a couple feet a way, it's good for ambiance and nature sounds, but really not speaking - I wanted it for the nature background as we walked as the lav mics won't pick up the steps or good wind through the trees). In post, I synced up the audio from the camera (shotgun) to the 2 lav sources easily and then layered in the lav mic audio that sounded the cleanest - in this case, the Rode (because of the 32bit float). The Rode, I had connected to a small pocket sized battery brick through the USB C in order for it to keep recording as long as we were out. The DR10L has a battery life of like 12 hours, so I didn't worry so much about those (however, that unit version doesnt have 32bit float, so I was considering it as a back up). As long as you set up the settings to your liking before you hit record (always on), then you can just run your camera and know that the audio is being recorded - The only caveat I had was I wish I could monitor the recorder through bluetooth or something on my phone to ensure it sounded OK, but that's why we have backups.

Thank you so much for the comment in the watch. That means a great deal.

Cherry is my favorite lifesaver! Thank you for the kind words!! Happy editing!

So the good news is, typically you want a low audio feed. Because you can boost it up and clean it up. If it comes in too hot it can be distorted and never be cleaned. However I believe you can, with using the receiver hooked up to the phone, choose your audio gain as fine, set it to medium, because again you don't want to come in hot.

Also, sorry I forgot to mention, 😊 your comment was very nice, thank you so much for taking the time

@@NightOwlsMedia I boost it in post, but it’s really pushing the signal and you can only go so far before it begins to distort. It’s so much lower than my other sources and it slows down workflow. As far as I can tell, the gain controls have no effect on USB-C audio out. I’ll probably just start recording a backup track to the transmitter and again, add another step to post…

@@revmatchtv okay, that's a really good piece of advice about the USBC output. I typically never use the receiver anymore, I just use the transmitters and record internally for the 32-bit float. Especially since if you are taking audio from the receiver to a camera source, or phone source, you aren't getting 32-bit float anyway. I just like using the transmitters as mini recorders. I would however suggest, if you're doing something corporate, or client work, these are good as a backup, but I wouldn't use them as a main source. There's not enough control for me.

@@NightOwlsMedia TBH, there's no point in using a tranmitter/receiver system if you're only going to record to a device. Again, it's an extra step to convert and get the files off the transmitter since it has this stupid proprietary format. I can just use an external recorder with a nice mic and keep it simple. My whole goal is reducing steps to speed up workflow. I create content full time on several channels.

Wow!!! I appreciate the love! That means a great deal to me! Thank you!

Ah, I'm very happy it worked well for you! Happy editing!! Thank you for the awesome comment and watch! #BeBetter

Haha - I appreciate the note of "Not you" - I understand the frustration all too well. I've been trying to equate these issues I get in Premiere / Adobe with filmmaking in general. When I was first starting out, I always ran into some issue while making a video (locations, actors, my shot wasn't right, the take didn't record, the NLE would crash, etc). When I was in school, the teacher I had and I called my mentor (BJ Sears) told me "as editors, our main job is to create the story - however, our second job is to fix the fuck up. Because no matter what show you're on, there will always be problems. No film has ever been created with our problems." And if the editor who worked on Jacob's Ladder and Amadeus could say that, I knew the problem wasn't me. So every time PremPro fucks up... yes I get furious for a second, but then I think - hey, this is my job to fix the fuck up. While it doesn't fix the issue, it does kinda give me a zen moment so I can go back to focusing on the work.

@@NightOwlsMedia I appreciate youre answer but I just get mad because PP has been working for years and now this. I think its Adobes job to fix this and not mine. I could accept the responsibility if it was free software, but this is expensive A-F!? Am seriously considering switching to Capcut free or something.

Thank you so much for the kind comment! Hope it helped!

Haha. Nice catch. The irony is deep. I'll make sure to add some

Did you go to the link for the new video?

@@NightOwlsMedia no, I have to check it

Thank you for the kind comment and the watch - in case you haven't seen it yet, I did end up finding a Mag VND that I loved - kzbin.info/www/bejne/gKDJenmAndKBnsk